The Naked Truth
Eucharist is the name of my metal band consisting of me (vocals/guitars) and Daniel Erlandsson (drums) from Arch Enemy (ex-In Flames, ex-Armageddon, ex-Carcass), Tobias Gustafsson (bass) and Matti Almsenius (guitars). The last two guys have another active band together called Revengia and they release a couple of albums. Many years ago the trio Erlandsson, Gustafsson, Almsenius had a band called The End and released one album which is practically impossible to get hold of today. Gustafsson and Almesnius are both active in other bands today. The original line-up of Eucharist, before even having that very name, was in ’89 consisting of Niklas ‘gust’ Gustafsson (vocals and later also bass), Thomas Einarsson (Guitars) and Daniel Erlandsson (Drums). They rehearsed for a short time, maybe half a year or so or more, and then I started high school ending up in class 7A at Vidhögeskolan, Veddige, outside the town of Varberg. Very soon I bumped into two scary people that went one plus two classes above myself and one day they came towards me, looking mighty pissed, throwing their heavy looks at me and I got a bit reserved because I was sure that now it will happen – I’m was going to get bashed! So I prepared myself and got as ready as I could be when they suddenly stood in front of me – two tall guys – and asked me whether I liked Death Metal. Somewhat confused I sighed and eased up since the violence seemed to be missing, which it absolutely did. It was Daniel and Thomas who came to me that day and asked me if I liked Death Metal. But first I’ll tell you a little about my musical background.
Honestly, I had never heard Death Metal until I was thirteen years old and I never forget the first cassette band I got from Thomas which contained Entombed – Left Hand Path and Paradise Lost – Lost Paradise. Of course, I was a faithful follower of MTV’s hard rock and metal show Headbanger’s Ball and I had grown up with an older brother music. He listened to a wide range of hard rock and metal ranging from Black Sabbath to Venom, and I went through his vinyl and cassette tape collection and I taught how to play electric guitar on my own when I went in fifth grade, possibly sixth – I do honestly not remember exactly when I started with electric guitar. However I started to play the acoustic guitar for a guitar teacher in 4th grade and continued through the 5th grade, I think. But I kept it up even after I quit playing with my guitar teacher at the school. I enjoyed playing acoustic guitar a lot and I wanted to play classical music but I never checked out on that very well, hehe.I got hold of a Fender copy and a 30 Watt Marshall Amplifier to play with at home, first of all, I got to take over my brother’s old guitar. He was also playing but he was in a band back then that played softer hard rock. I do not know what brand it was but I know it had been metallic blue with a red border along the edges, before, and that it was pointed in both directions but it was too pointy, haha (how could it be?!) so reshaped the guitar body and painted it black to make it look nicer. Unfortunately, I do not have a photo on it but it was not quite unlike a B.C. Rich guitar and it looked pretty cool but I thought the body had been minimized a little too much. But for some reason, we quite soon got me a new electric guitar and I think it was due to the bridge, I wanted one with a bar on it, and my guitar was old and worn out but it was a start of something I did not have a clue about what would lead to. Speaking of B.C. Rich Guitars, I later had two pieces that I received from my record label but were stupid enough to sell them both; The last was 2003 just to buy some cannabis and then that one was gone and so was the smoke in a couple of days! Talk about annoying afterward when you wished you had them left. I had a black ironbird and a black warlock. (See below for what they look like)
B.C. Rich Walrock
Ah! Writing about this undoubtedly raises many memories. I loved my B.C.Rich guitars. Unfortunately, my abuse made me lose them along with everything else. I even handed in my own Eucharist albums (it was the original CD releases that I’ve gotten directly from the label) to a pawn shop and have never had them again ever since. Today I own only an AVC LP, a Mirrorworlds LP (Wolfsbane special edition incl. 7″ with The View) and the Obscure Plasma Records rip-off release called Greeting Immortality (The one with a crying angel on its cover). Of course, I am responsible for it all myself but that was not something I really wanted to do – to sell them for a pathetic sum of perhaps €3 each, at most. Anyway, back to where we were when the boys stood in front of me, begging for answers and I felt stressed, but I said something stupid like I liked Metallica and Venom or something like that. (Metallica?! ffs) They asked me if I was playing the guitar and I replied that I had a guitar and played it all the time. They wondered if I was interested in rehearsing with them to see how things went because they needed a guitarist and they had looked me up as a potential target for the job, haha. In any event, this led me to drag my things to what would be my most appreciated retreat/hideout for the next few years to come, but I did not know that then, naturally. So I went and found my way to Veddiges’ youth center and entered it. “It’s one floor up,” they said when I asked where I could find Thomas and Daniel. I was probably pretty sweaty in that moment that day but anyway, I became part of the gang that consisted of Gust, Thomas and Daniel and then myself. Gust was kind of forced by Thomas to play the bass (a little jokingly but he had really no choice. He played the bass) but Niklas a.k.a. Gust found it hard as fuck with the coordination of doing vocals and playing the bass at the same time and he lost interest, so he left the band and the rest of us was wondering what would happen now because we still had played together for about six months by then and had a couple of gigs at Veddiges’ high school at the obligatory semester performances organized by our music teacher, Thomas Brixmar.
The Early Years
As I recall it we put our instruments down but I talked to Daniel pretty soon after and asked if he did not want to pick it up and I said I would try to pick up the vocals while playing the guitar. We did so. We met at my place back then and wrote a lyric that was called Greeting Immortality. It was written on a piece of an oven-proof baking sheet which I had in my possession for many years and I even framed it behind glass but now it is lost to time and the past, unfortunately. Would have been cool to still own it. Anyway, we went on and rehearsed until we had two and a half tracks ready. The songs were called Greeting Immortality and March of Insurrection as well as the half-ready Into the Cosmic Sphere. By this time, Thomas had learned that we were rehearsing again because he knew nothing about it and he asked if he could check our new project. It worked well to sing and play at the same time, but it was quite difficult. But I did not care and thought it was awesome. Our music and rehearsing soon became a lifestyle. We ate and shat metal. That’s just the way it was. One’s entire personality became a part of this new world because it became a way of channeling my teenage aggressions and misguided hate and feelings of despair that haunted me even during my early teens and has kept haunting me ever since but I have learned to live with it.
For me, the band was the most important thing in my life. It became my life and Daniel came to be the friend I’ve ever been with, ever, and I still feel the same confidence and brotherly love towards him. We were a good team and went well together. It did not work as well with Thomas, though. He was extremely bossy and wanted to decide everything and tried to control us all. He more or less whipped Daniel bloody by forcing him to learn to play faster double bass drums and quick fill-ins and so on. Daniel hated it because he trained like a pig at home in his own trunk cottage, which he had in his father’s garden home in Derome, 10 km from Veddige. He was incredibly talented and I quickly noticed his talent but did not really understand the potential he had and what capacity he was able to accomplish when it came to performing. He played a lot of tennis at this time too. His father forced him to play tennis and Thomas whipped him to play faster double bass drums. It was Daniel’s life for a couple of years, but I will not go into his privacy without sticking to my own. Either way, I’ve always seen Daniel as friend and companion. I have looked up to him ever since we met,. He was (and is) a very faithful and trustworthy, but also very private, person who never disappoints! He rather suffers himself. He was my good and best friend.
When Thomas joined us again, we finished Into the Cosmic Sphere and also made the songs My Bleeding Tears and Floating My Way Through Infinity (later Floating) and had probably started on A Velvet Creation by the time we decided to search for a studio and record a demo cassette. All metal bands did this and then they spread them themselves by being devoted and on that part Thomas was strict and great. Daniel too. The two exchanged correspondence with many other musicians and so forth. Fanzines or ‘Zines which was the work of the black underground world’s metal journalists. They spent all their free time writing articles and writing interviews with other more or less famous bands in the underground scene which during the early 90’s were very extensive in Sweden. Daniel had mostly contact with the guys in Dissection and At The Gates. Daniel’s older brother, Adrian Erlandsson, played with At The Gates (and still does) but they rehearsed in Gothenburg unlike us. Well, it started by recording audio recordings on cassette tape from when we rehearsed that we then sent to Dissection and At The Gates and some other bands, I do not recall who they were because I wasn’t really involved. I was busy making music for Eucharist. We got in contact with Jon, John-John, Ole, and Peter in Dissection when we shared a gig with them in Falkenberg sometime around ’91. So it followed that the guys in Dissection sent us their rehearsal cassettes as well and we also got cassettes from At The Gates, so it was mainly these two bands that we kept a more regular contact with and sent tapes to and they kept us updated with what would come from these two, to be, iconic bands.
Just about a year before this time, if we go back until when I and Daniel were reunited for the first time and did “Greeting” and “March”, I had started experimenting with playing different leads or riffs at the same time on the guitars so that it created a harmony. We did not have a second guitar just then so we could not make real what I was writing at home. There I recorded my stuff on a cassette recorder and played it while simultaneously playing a secondary riff at the top of the already recorded one that went slightly different from each other but played together they would sound very beautiful or very evil or dark, depending on what tunes you used. Anyway, so did the classical composers with their violins and cellos and stuff and I figured that if they could then we can do it too. We came to name them by the Swedish word “Stämmor” which means harmonies. By that time we were not yet in touch with Dissection and we had not heard much from At The Gates because they had not even recorded Gardens of Grief yet. So when Thomas came back, I started implementing the harmonies I had created and recorded at home. They were inspired by classical music where it is very common, like I said, if not almost regularly, with just two or more parts from mostly all the string instruments. So it was from classical music that I got that idea and in honesty’s name I had not heard a single band in the world of death metal that played with harmonies for nobody had done it that we know of. When we played the first gig with Dissection, they represented their first demo The Grief Prophecy and you who know the demo knows that there were no harmonies at all and Jon had a very, very dark voice, unlike how the sound came to sound at the time of The Somberlain. We were told that Alf Svensson in ATG had begun experimenting with harmonies as well, but they still had not released the Gardens of Grief. All I’m saying here is that we were very early in implementing the later exploding sound that came to be called The Gothenburg Sound which of yet didn’t exist except for in our rehearsal room and certainly some others. Music is developed and exploited just like any other being and anybody, so it was simply some kind of evolutionary step that was about to happen at that time. That I had begun experimenting with harmonies so early – long before I heard it in death metal myself – could as well have been another truth. We also did not come from Gothenburg so it never became known in any further circles in the world about what we were doing until our Untitled Demo 1 was released in 1992. The rest is a relatively known story. What was a little sad was that we had been making all these songs that were based on these very harmonies in the rehearsal room a long time before the nowadays classic albums The Somberlain of Dissection and The Red In The Sky is Ours by At The Gates were released. We simply had not had the chance or the opportunity to release a separate disc at that time. And then Eucharist split up the first time for real in 1992.
“A Velvet Creation”
In 1993, we got in touch with a newly formed label that wanted to release a full-length record with the Eucharist after hearing the demo cassette. By the time the offer came, we were no longer a band and I said no to Thomas who was very excited and willing to record a record. I and Thomas just did not agree and after we had been in the studio together and recorded Demo 1, I decided to never set my foot in a studio with that man again. This is history now and completely forgotten sorrows, but then I was serious with my anger. “NEVER!”, Was my answer. It all ended up with that we were to record an album against all odds, but I was set to do only the vocals, acoustic guitars and my solos and the album. That’s how it was. I learned Thomas my harmonies and riffs and we did it all over the phone, which I am still astonished by that we succeed with and that he memorized everything. Me and Thomas usually only took care of our own riffs and parts of the harmonies – the one we played ourselves – and the other guitarist’s was his and nothing that was necessary to keep track of for the other guitarist. But on the other hand, we knew some of each other’s riffs but not most of them even if I had written them I would forget the second voice of the harmony as soon as I had learned Thomas to play it. It was simply not any important information to keep in the brain so I guess it sorted them out by itself. So Thomas Einarsson went into the studio together with Daniel and Tobias. There Thomas records all the rhythm guitars, my riffs and all. This is also clearly heard on the album in my ears because I played with a completely different technique or style, I had a softer kind of flow in my playing while the Thomas play style was rough and edgy, which is definitely heard on the AVC (A Velvet Creation) album. In spite of everything, he also added a third and, in theory, completely disharmonious voice the intro riff on the title track A Velvet Creation, which literally made it crawl under my skin when I later came to the studio and heard the results. I know I fought in vain with him to take away that third voice that had completely destroyed the otherwise much more harmonious double voice harmony, but somehow he won the lap – I guess I gave up – and the shit ended up on the album and it is something which I don’t agree with to this day.
Those who saw us live at Bruket on April 16, 2016, were presented to the original harmony, consisting of two voices, as it “should” sound, according to me. This might all sound as if I’m a grumpy person who wants my way through but I had made the riff and it was made the way I had made it – with its two voices that put the riff in harmony while Thomas extra voice put the riff totally out of harmony and it became very disharmonious and sounds pathetic and I’m ashamed of that still, haha. There’s the truth, ladies, and gentlemen, so now it’s out in the open air, hehe. So, according to me, Thomas destroyed the entire album with his way of paying and I regret a lot that I didn’t enter the studio and recorded my own guitars. That would have given the album a totally different character. Now, everything sounded dead. Uninspired. Tired and very forced. It was as if he was completely uncommitted and had a hard time playing it instead of the flow you get when you know the riffs by heart. I’m’ no great guitar player, that’s for sure, but I learn to pay my own riffs as well as I can until I have the flow that the riff demands of me in order to sound the way my brain intended it to during the inspiratory creation process and that is what differentiates the original AVC as it came to be and the potential subject that could have been. He gave no room for any perception of the creativity that lay behind the creation of that album. The songs did not sound like that in the rehearsal room! I tell you that. In the rehearsal room there was a smoking inspiration and a stench of sweat and blood and very hard work and also creativity and energy – the album is completely lacking all this magic, if I may call it as such, from the rehearsal room. And to top it all, we ended up in an unknown studio with a technician that was completely green on Death Metal and had never even heard the music genre before. Thus, the technician did not know how it should sound, and, of course, thought everything sounded bad, as in worthless, as if we had come up with a bad guitar sound on the amplifiers and and he thought we were joking when we told him what we wanted it to sound – as if he perceived it as something that was not supposed to sound like that, and thus he tried to “correct the mistakes” with his knobs and sliders and wheels and computer, trying to unscramble the weak soul that still remained in the material that had been recorded and which became the more and more dead as a result the harder the technician tried. Many have the consumers opinions about the sound of production – and I totally agree – is that it sounds terrible! Flat! Dead! Worthless! The production totally fucked our music up. As if it were recorded in a canned jar! This is the true story of A Velvet Creation.
The Middle Years
After the AVC years, we were again going our separate ways. However, soon I and Daniel picked up the contact and continued to make music again and this time we both stayed in Varberg and had another rehearsal room and the year was 1994. We made two songs to a compilation album for W.A.R. Music, that was released by the same guys that released AVC but now called its company For W.A.R. Music and who put together an album that I think is called W.A.R. Dance Vol 1 but I’m definitely not sure (please, correct me if I’m wrong in the comments) – I do not own it myself, like many other releases, as you know by now. It featured the two songs I and Daniel made together with Matti Almsenius (Revengia, ex-The End) and were called Wounded And Alone and The Predictable End. These songs showed that Eucharist had evolved a bit since they are of another character than the original material, which is only natural. Change is good and needed. But before this release, just after the demo, actually, in 1992, another compilation album was released by a subsidiary of Peaceville titled Deaf Metal Compilation, which featured a song we made called The View which we did around ’91 -’92 and which was also released ’92 so that one actually preceded AVC. Daniel did some work with other bands here and there and contributed to a fair number of famous releases.
But after 1994 we got together and, in my case, the drugs and alcohol rushed away with me and my life and it was a big snowstorm even when I came to meet Daniel again on New Year’s Eve 1996-1997. I was literally high as a kite when we decided to make a new album. This time we would like to do everything ourselves. During a period of mental storms, in a constant fog, and a time of mental collapse and mental barriers that needed to be overcome and all conceivably destructive shit in wild-eyed pills and needle abuse combined with an equally bad alcohol abuse, “Mirrorworlds” were born. Created with my B.C. Rich Ironbird ;) Daniel made riffs on an acoustic guitar to get his riffs and harmonies out of his head and sang and explained them to me while I pushed forward like a manic an extremely depressive life. During a part of this period when Mirrorworlds was created, I got stuck in a hell where the same tones came every time I touched the guitar. I did not move on. Couldn’t move on. It was like throwing my skull against a wall trying to crack the while the skull bursts more and more and this was one of the most psychedelic attacks I’ve ever experienced up until then of all the crap I have survived. That mental monster wore and psyched me out completely. Melted me, watered me and made me skinny and as fucked as a human can become, I believe, for all I heard and saw was these same cursed tones, over and over, and they did not want to disappear. Creativity had been raped by a demonic pattern that was on repeat inside my brain. And they were horrible tones. The shit scared me and gave me nightmares in both awake and sleeping conditions, but I slept very little at that time and had more periods where I slept on pills and beer in order not to die and then on the amphetamine again and so it went on. (I’m writing more about my addiction life elsewhere here on the blog. Check the menu. Although it is written in Swedish I will translate as much of the documents as possible here on the blog Just a side note!) Anyway, I felt that there was no way other than recording these damned demonic tones on the album, for they were so terrible that I could not play the songs we would record. From this devilish demon symphony, the piece “In Nakedness” was born. Hated by many and loved by others. For me, it was the only way out. I spoke to Daniel about this and he said “give it a try” so I recorded them and we hired my old guitar teacher from junior high to play oboe on it to make the nuances more colored, so to speak. It was as if I was stuck in a maze that consisted of just these tones and the only way to get rid of was to record the tones on the disc. It was thus a kind of forced act I saw as the only solution. In my hands, I had gotten some kind of amphetamine psychosis. The piece on the album makes no justice for what I experienced!! The tones were dark and huge and terrible as the blackest nightmares content could be. They were obscure, huge in size, blown up like mountains and had powers like mythological gods and heroes only have; they were alive within me, terrorizing the inside of me. Nothing can describe what hell it was right there and then. I do not remember how long it lasted, but it lasted at least about three weeks.
Regarding Mirrorworlds, we went into the same studio with the same technician that had “handled” (or maltreated) the AVC. What did we think of?? Do not ask me that question, please! The studio was physically close at hand and we thought we’d know more about the sound bit this time and we were not going to be run over by the technicians insane ideas this time – we thought we knew what we wanted and in addition, we would play everything ourselves so no conflicts could occur. When I was to lay the bass, the sound engineer was convinced that I did not do very well because I did not play clean enough to him and it might have been so. So he suggested that we hire a professional who could quickly do the job so we called Martin Karlsson from (Livin ‘) Parazite, (Varberg), and he did a great job. On his own, he played a riff at a time or a lot at a time so he did not have to learn the track structures, but he managed to lay the bass, but he had to do it with my bass riffs, because I had a distinct feeling about how it should sound, especially on Bloodred Stars. Well. We got what we wanted that time! Many believe that the production on Mirrorworlds sucks too, but we were into bands like Black Sabbath, Judas Priest and Mercyful Fate at this time, so we’d liked to filter our metal through a soft eighties filter, kind of, and it turned out good in my opinion. I am fully satisfied with Mirrorwords as an album when it comes to the music but this time the design was the disaster! We were more or less forced to use what the designer had come up with because by the time it was finished there was no time left to work with another design. I still can’t grasp why the old logo wasn’t on it. And that yellow E on the front is horrible and a pure rip-off from Epiphone’s logotype and also the game Quake, so I was pissed with that. The sheet inside with a butchered angels anatomy was pretty cool and I stand by that. We are both pleased with Mirrorworlds. The voice was sitting, the riffs floated on I had just gotten out of my psychosis.The solo’s was mostly not finished when we walked into the studio but I created them on place purely intuitively and terribly affected by alcohol and drugs! The solo on Demons I played just after swallowing a quarter of moonshine and of course with a lot of amphetamine in the blood and pills to stay on the ground. So when it was time to record, I was so in fucked and numb in the skull that I lied down on my back on the floor with the guitar on top of me in the control room with Daniel and Fredrik Larnemo (producer and sound technician) and pulled in the bridge bar and I did not know when they recorded and no. I did not know take we were running on and not. They just laughed at me and I probably also laughed if I had not been so distorted that I appeared like a worm on the floor of the studio. Now that was a solo, I tell you. The rest came from similar situations. Some were partially planned and rehearsed. They were randomly added by jamming to the songs. All we had done beforehand was leave room for solos in some of the tracks before we recorded them. It was a chaotic time in my existence, I want to promise. Totally crazy that that album was actually made now when you think about it like this afterwards. I don’t understand how one was capable to play at all and at the same time exist in a socia situation. Well, it wan’t very social, come to think of it. I remained within my protected sphere. Then the two mini-tours came and they were more wild than most in the west :p
The Mini Tours And The End of 1990’s Eucharist
We were invited to ride on a mini-tour with Arch Enemy (Black Earth had recently been released) from which the band Gardenian had jumped off and thus left us room. There were three gigs in Holland and one in Belgium. We also had Henrik Meijner (ex-Cromlech) on guitar and Martin Karlsson (Livin ‘Parazite) on bass. Yep, the same guy who put the bass lines on Mirrorworlds. The cities were, in turn, unkown, Hengelo, Rotterdam and Sittard. To sum it up, it went to hell the first night in an Amsterdam suburb. We did not get any sound check at all, and each one of us had to go up and use what was on stage without having been able to look at the stuff beforehand. No matter what the sound would be! There were no discussion. It was unreal and sickly hard. The sound was of course so dry and sad, no overdrive or distortion whatsoever on the guitars and everyone who plays guitar knows what that is like trying to play tremolo riffs on! It was impossible to play metal on it. Jazz would have worked. I promise that only Venom had succeeded in that situation! So Wez from Wrong Again Records was our personal driver and he tried to bribe Arch Enemy’s sound technician to mix our sound but not! He held up his hand and strictly refused – “I work only for Arch Enemy!”, haha. It was chaotic – like dead eagles dumped in the ocean or something. But we were used to chaos. Bad night but Arch Enemy did a success this evening as well as all other evenings when they did not suffer from the “Markus factor“. By that I mean they were professional but actually a little sad because they went to sleep a few hours before their rush hour and never cared for getting to our gigs besides the first night – of course. I understand they’d rather sleep than reliving what they saw and heard. No one can’t blame them. And it did not make it easier for us not to have released Mirrorworlds yet, but had like five songs from that album in our repertoire so nobody had guaranteed not heard half of the songs and also it was expected that Gardenian would show up and some clubs hadn’t cared to publish new Posters so they all said Arch Enemy & Gardenian. Nobody knew you should come, kind of. It was our first real gig abroad and that was not exactly a gig in Halland County where Varberg sits geographically, (no Holland! haha “Halland” is a Swedish county”) Anyway, this mini-tour was important to little Eucharist. But, as said, the Markus factor made it not easier for Eucharist, because I started our journey where Wez picked us up in Varberg by asking him to stay so I could buy a flak of beer to have during the trip. And I drank them too. Nobody was particularly happy about it but said nothing. I thought it was a party – we would go to Europe and gig, for fucks sake! The second evening was the opposite of the previous night, though! After having managed to get hold of one of the employee’s of club Metropool to run a small errand for me, to go get some cocaine, Markus immediately felt significantly better. The Markus factor now became more reliable and significantly weaker after a dozen beers and a few lines of white before hitting stage. The only one who was not happy was the troubled Wez who held the money for us and asked what I would do with all that money. I had to answer honestly. He wasn’t happy but handed me the cash, the little sneaker, haha. The second night we had the soundcheck for how long we wanted. We were in the club around 14:00, I would like to remember what we had plenty of time. The gig was awesome! Best of all of them, the few gigs we made. Everyone gave hundred percent that night and the crowd was wild and gracious to the one who came close to me then because I was wild like a strange, roaring bull that has just been pierced with a sword. We had the time of our lives! That same evening, Nightingale came in backstage and presented themselves and said they had come from Germany in order to see the gig. None of us knew who they were then. We hadn’t even heard the name. before. The guys became seriously pissed off and grinned all night with dangerous Death Metal attitude, haha! They obviously did not come to see the Eucharist or AE but to show themselves to us, haha! Seemingly. (No offense meant, guys, if you read this by chance)
That night, the Arch Enemy boys slept well and missed the show, which went really well that night. So di, of course, theirs. Brilliant as usual, I think. I was backstage. Me and Johan Liiva, at least, had a blast together on that trip. He was the only one who wanted to party properly. That night we slept with that babe, that ran that errand to me earlier that evening. (Sylvia was her name. Is rather, cuz I have found her on Facebook now all these years later) Sylvia lent her apartment to three Death Metal bands to sleep in. There were people on every square centimeter of every piece of the floor. All I remember from that night was all the bodies and that I fell in her big, lush giant flower arrangements and I still remember how the vegetable juice splashed out on me and all over the air in all directions. It was a big bang. I alone laughed, as usual. The Markus factor was quite high but not catastrophic … yet. The day after Hengelo it was time for Rotterdam. Then none of us had the lust to gig at all. The gig went like that. Everyone was turned down and tired and the alcohol did not really bite and I ran out of coke. the same evening and did not reach the same push. I remember at least how the audience shouted “The View! The View!” So obviously there were people who too new us at least. Well, good for us! But we had not even rehearsed that song for years and so I said straight away. Very professional! (not). Can you imagine just about on what scale the Markus factor was that moment? Well, if the scale was negative it’d be below zero! Shit! I’m getting red in the face of shame just by thinking about it! Sorry all you guys who was there that night and reads this today! We should of course have rehearsed a completely different set of songs than we had with us. Nevertheless, I’m telling this because I’ve written the “naked truth” above. In Rotterdam, I actually saw our 7-inch Greeting Immortality “- illegally pressed by Obscure Plasma Records (Italy) – for the first time in my life. Now I actually have an ex like I told you before! The last night and the end of the tour was at Club Phoenix or Fenix, I don’t remember exactly, but I think it was in Belgium (Am I wrong? comment!). Oh that night, the gig was okay, and everything was pretty normal. Low Markus factor. I made one fat fucking mistake though – Daniel counted in to start the next song and I started on the wrong song! What a bummer!! Low Markus Factor. On Facebook, I have published a photo from this the fourth and last night that is on all of us who played together standing in a long line. Arch Enemy, Eucharist, Dew-Scented and a local band. That has to sum the Holland tour. Then there was just a piggish East Germany tour also in March ’98. It was not beautiful in any way and it was after that Daniel chose to leave Eucharist for for the benefit of Arch Enemy and I do not blame him for the least. I think he did right even today, although the fate of Eucharist could have looked different if it would have gone in any other direction. Life does not work that way and therefore I do not speculate without focusing instead on the present and the future.
The East Germany tour is just too fierce to be described. Perhaps on request? Well, it depends on how popular this story will turn out to be ;)
2015 – The Reunion
Then came the year 2015 and I lived a withdrawn life in seclusion and loneliness but in a straightforward life without alcohol abuse and still on substitution treatment (treatment with Methadone for 3 years and Subutex/Buprenorphine for 7 years until this day). Subutex has worked extremely well for me. Along with a few other important medications like anti-depressants as well as Dexamphetamine against ADHD. Since 2009 my life has been enriched with incredible amounts of diverse literature. I have both read and written a lot myself. Everything from bad short stories to pure poetry in Swedish and English. That’s what my life had become. I had put the music on the shelf since 1998!! Some of you who read this were barely even born then. Still said that it’s a long time passed and a period of which I’ve had a 10-year long relationship with a stepdaughter. Although I do not brag about it because of my failure as an addict, the girl in question is still in my heart and I wonder every day what it got from her and how she got on. Life is strange. I would do a lot to be able to turn back time and make a lot of bad stuff undone. The difficult part is in realizing that that is not possible so you have to live with what you have done earlier in life. There is no escape from the past. There is not much left behind me that I am proud of except for the musical work. Well, that’s all. Well, it was June 2015 that I and Daniel picked up the contact and decided to conduct a reunion gig in Varberg on April 16, 2016 and if it would be fine and feel good then we might continue together than one Time and shake life in the old body that has been in the coffin for almost two decades! The day of the gig came and it turned out that although it was long since we played together we were at least a long way from forgotten! People came to Little Varberg from remote parts of the world such as Ireland, England, Italy, Croatia, Japan, USA, Russia and Australia. But worth mentioning
Well, it was June 2015 that I and Daniel picked up the contact and decided to conduct a reunion gig in Varberg on April 16, 2016, and if it would be fine and feel good then we might continue together again. Time to shake the life back into the old mummy that has been in the coffin for almost two decades! The day of the gig came and it turned out that although it was long since we played together we were at least a long way from forgotten! People came to Little Varberg from remote parts of the world such as Ireland, England, Italy, Croatia, Japan, USA, Russia and Australia. But worth mentioning is indeed the Swedish fans who descended to Varberg from the upper northern regions of our outermost country. It’s a couple of hundred miles single trip. The same humble gratitude goes to you who came from the south too. I want to thank everyone who has dropped into my newly opened blog Svartabloggen.com and who came to the gig on April 16, 2016 just to see the Eucharist! We were all in the band immensely touched by the fact that so many came after so many years of silence from us. Of course, people came to see the other awesome acts during that night too, but our thanks go without saying to you who came for our sake. It was a great honor to sign your items that you brought with you, for example, the Demo 1. At the same time, I would like to thank all your wonderful musicians who played at the Bruket Gig, who are members of the following bands: The Ancients Rebirth, Ablaze My Sorrow, Fatal Embrace, Cromlech, Eternal Lies, Revengia and Livin ‘Parazite. You were all massive! Thanks for an awesome evening that won’t be forgotten until the day I fall into my grave!
Eucharist – New Album
How then were the gig and the feeling afterward? It was, of course, a response over expectation, and I and Daniel took the matter into hands and started making new material for a third full-length album. Even this time, it was natural for us to create the material ourselves. We have cut together 13 different songs to the next album to be called – or, by the way, I’d better not, hehe. In time!. What I can say about the new material is that the Eucharist has rather than aged and “matured” over the years, we have rejuvenated ourselves in a strange way. We have more energy in the songs, higher pace. This material is heavier, more beautiful, more harmonic, and much harder than previous material. I refuse to categorize and always hesitate to put what you do into a category, whether it’s writing or music-making, and if somebody asks me I tell them that I’m playing metal or death metal right away. No Melodious Death Metal and such a genre, but I still have to – to make you understand what direction it leans for this time – use categories. In short, we can say that we have taken a rather big step towards some sort of Black Metal. Both textually and musically, it goes that direction. Some old fans will certainly dislike our new material, while others who may not have been appealed by our back catalog might like the stuff. We do not know yet. But somehow feels and sounds like Eucharist. We are looking for the moment I’m writing this (May 2017) after a label home. We know what we have to choose from but nothing that is safe or clear in any way. Some are more interesting than others, etc. But in the end, we’ll see who wants us and how their offer stands. These are the two factors that determine where we end up. But follow me here on the blog and you’ll find out as soon as there’s some news about the future of the Eucharist!
Thank you for having read all the way to this part of the story – the end of it… or is it? \m/
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“I gaze into the eyes of Lilith. The light of Lucifer is shining”
– from Shadows by EUCHARIST (unreleased)
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